Literature: “Poul Kjærholm”, Arkitektens Forlag, 1999, ill. and referred to pp. 30–31. If the PK 22 from 1955, the most popular and well-known Poul Kjærholm chair of all, can be seen as his masterful re-interpretation of Mies van der Rohe's Barcelona chair from 1925, then the PK 20 can be seen as Kjærholm's purification of the Tugendhat Chair by Van der Rohe from 1929. The big cantilevered chair is once again a study in removing what is not needed. The narrow strips of leather upholstery originated from a desire to use surplus leather trimmings from the production of the PK 22. In the end, the extensive sewing of the strips made that impossible, but added to its distinctive visual appearance, just as the sewing stabilized the steel frame.